Archive for the ‘Band Profiles’ Category

Band Profile: Polyrock

Posted: February 11, 2016 in Band Profiles, New Wave, Post-Punk, Synthpop
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As I was looking for cold wave bands of the ‘80s on YouTube, I came across the video for Polyrock’s “Romantic Me.” I gave it a listen and immediately recognized the song, although I couldn’t quite place where I had heard it – probably some early ‘80s new wave cable show. I’m not sure why they were lumped in with cold wave on this particular YouTube channel, as they are more minimal new wave. There wasn’t much information available on the band but I’m sure glad I rediscovered them.

Having come out of the same late ‘70s, NYC music scene, Polyrock was often compared to the Talking Heads. It also didn’t hurt that singer Billy Robertson had a unique vocal delivery, somewhat similar to David Byrne’s. Their sound combined stripped down repetitious rhythms and synth that you could move to, as evidenced on “Romantic Me,” the group’s most notable song. Their minimalist sound was no accident, as composer Philip Glass had a hand in producing their first two albums, and also made an appearance on both. The band released two albums in the early ’80s, their self-titled debut in 1980 and Changing Hearts in 1981. They also released a 5-track EP in 1982, Above the Fruited Plain, before calling it quits later that year.

“Romantic Me” is the first track off the self-titled LP. The repetitious beat along with the mechanical keyboards and synth play nicely against Robertson’s emotional delivery.

 

For “Call of the Wild,” backing vocalist Catherine Oblasney takes the lead. The song is included on the EP Above the Fruited Plain. By this time, the group had already moved to a more pop-oriented, melodic sound.

 

Band Profile: Modern Eon

Posted: January 20, 2016 in Band Profiles, New Wave, Post-Punk
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Like many, I discover new music through music blogs and social media. (There’s still nothing like coming across a great find). This is how I first heard of Modern Eon, a post-punk band out of Liverpool. A page I follow – The 80s Underground – posted their song “Euthenics.” I took a listen and immediately wanted to find out more about the group. It turns out that they were a short-lived band, producing a handful of singles and only one full-length album. It’s no wonder I’d never heard of them before. Their dark and atmospheric sound drew comparisons to Joy Division but the use of offbeat drum rhythms and bursts of electronics and horns gave them a sound all their own.

Founding members Alix Plain and Danny Hampson started the band in 1978. At the time they were called Luglo Slugs but after a few lineup and band name changes they decided on Modern Eon. The group gained a following within the “New Wave Liverpool Scene,” which produced other notable acts such as Echo & the Bunnymen, OMD, and The Teardrop Explodes. After some success with the EP “Pieces” and the single “Euthenics” (and after more lineup changes), they released their only album, Fiction Tales, in 1981. Although the album didn’t do well commercially, it did receive critical acclaim. Later that year they were set to tour with The Stranglers when drummer Chris Hewitt critically injured his wrist. They went on with the tour but eventually had to replace Hewitt with drum tracks. After Hewitt’s recovery, they recorded demos for a second album that were never completed. By the end of 1981, the group had disbanded. It’s unfortunate, since it would’ve been interesting to see how their music would have evolved.

The song “Euthenics,” originally released as a single in 1980, also appears on the Fiction Tales album. It’s a soaring, atmospheric song with Hewitt’s off-kilter drumming on full display, along with a shot of special effects they were known for. The band was a big fan of composer Ennio Morricone, and he was asked but declined to produce their album. You can definitely hear his influence on this song.

  

“Mechanic” is another single off the Fiction Tales album. It’s a more melodic song off the LP with a steady bassline and great guitar work by Tim Levers, who would later go on to find success with Dead or Alive.

 

Band Profile: Kitchens of Distinction

Posted: January 4, 2015 in Alternative, Band Profiles, Shoegazing
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The English trio Kitchens of Distinction were considered a precursor to the shoegaze movement of the late ‘80s. Formed in London in 1986, they were often compared to The Chameleons and Cocteau Twins, due to their swirling, psychedelic sound. The group was also known for their blunt lyrics and outspoken views, which most likely contributed to their lack of mainstream success. Taking their name from a home décor company that specialized in kitchens and plumbing fixtures (guitar player Julian Swales saw the ad on the side of a bus), the group was active for ten years before disbanding in 1996. During that time, they released four albums and several EPs and singles.

The group’s first single, 1987’s “The Last Gasp Death Shuffle” was named single of the week by NME and got the band signed to One Little Indian Records. This led singer Patrick Fitzgerald to put his career as a medical doctor on hold and devote his full attention to the band. Their first two singles for the label, “Prize” and “The 3rd Time We Opened the Capsule,” made it on “NME Writers’ 100 Best Indie Singles Ever” list. Although the future looked promising, the mainstream music industry didn’t embrace the band, largely due to lyrical content. (The song “Margaret’s Injection” was a fantasy about killing Prime Minister Margaret Thatcher.) Also complicating matters was that Fitzgerald was openly gay and the lyrics often reflected this, which didn’t sit too well with the general public. Although finding moderate success on US college radio in the early ‘90s, the group faltered in the mid ‘90s. They were dropped by their record label during that time and decided to disband. They reformed in 2012 and released an album, Folly, in 2013.

“The Last Gasp Death Shuffle” was the band’s first single and sounds like a combination of early Echo & the Bunnymen and Talking Heads.

 

The group’s debut album, 1989’s Love is Hell, produced the single “”The 3rd Time We Opened the Capsule.” It found the group moving towards a more psychedelic sound and is considered “a perfect Kitchens moment.”

 

Band Profile: Sad Lovers & Giants

Posted: October 20, 2014 in Band Profiles, Goth, New Wave, Post-Punk
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England’s Sad Lovers & Giants are one of those bands who should have received more recognition during the early ‘80s post-punk era. They had a great atmospheric sound that was prevalent during that time period but were overshadowed by bands such as The Cure, who they were often compared. They recorded under the Midnight Music record label, known for their experimental and post-punk roster which included The Essence and The Snake Corps. I first became familiar with the band through their song “Colourless Dream” and was immediately taken with the multi-layered guitar work and haunting keyboards.

Sad Lovers & Giants formed in 1980 in Watford, England, and developed a following within their native country and Europe. They released two singles in 1981 under the Last Movement record label (“Colourless Dream” and “Things We Never Did”) before signing with Midnight Music in 1982. Their first album, 1982’s Epic Garden Music, combined a psychedelic sound with gloomy layered guitars. Their second album Feeding the Flame, released in 1983, continued the melancholy, moody sound and drew comparisons to Joy Division. Just as the band was building a following outside of England, they split up in 1983. They reformed with a different lineup in 1986 and released three more albums before Midnight Music dissolved. Returning, yet again, with another reformed lineup in 2009, they are currently working on material for a new album.

The band’s second single, “Colourless Dream,” was later included on the 1988 reissue of the album Epic Garden Music.

 

“Echoplay” is the lead song off their debut album and sounds very much like a hybrid between Joy Division and The Cure.

 

Band Profile: Translator

Posted: October 7, 2014 in Alternative, Band Profiles, New Wave, Post-Punk
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Translator is another band that slipped under my radar back in the ‘80s. I was familiar with the song “Everywhere That I’m Not” but other than that, I knew very little about the group. After checking out more of their music, I was surprised to learn that they are American. With their updated Merseybeat sound, I thought for sure they were British. Not surprisingly, one of the band’s biggest influences is the Beatles. They had little commercial success, but their stripped down psychedelic, guitar-based sound appealed to college radio audiences.

Translator formed in L.A. in the late ‘70s and their first album, Heartbeats and Triggers, was released in 1982. It contains the single “Everywhere That I’m Not,” which remains the group’s most identifiable song. They recorded four albums throughout the ‘80s, and maintained underground popularity during that time period. In 1986 they recorded their last album, Evening of the Harvest, which saw the band move to a more mature, nuanced sound. The group broke up shortly after that release and pursued solo careers. They continued to reunite over the years, and released an album in 2012, Big Green Lawn.

“Everywhere That I’m Not” is the band’s first single and put them on the college radio map.

 

The single “Un-Alone” is off of their second album, No Time Like Now, released in 1983. It received some radio airplay but the group was never able to match the success of their first single.

 

The Church: Before “Under the Milky Way”

Posted: September 29, 2014 in Alternative, Band Profiles, New Wave, Post-Punk
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One of my favorite songs from the early ‘80s was “The Unguarded Moment” by The Church. I remember seeing the video on MTV and promptly getting my tape recorder ready in hopes that it would be shown again (that’s how we did things before VHS recorders). There wasn’t much to the video, just the band performing the song on a studio soundstage with very little visual effects. It didn’t matter though, the guitar intro alone was enough to grab my attention. I heard little more from the band until their US success in the late ‘80s. It wasn’t until recently that I decided to track down more of their earlier work to see what else I might have missed.

Most people were first introduced to The Church through their 1988 hit “Under the Milky Way,” off the album Starfish. It was an international hit and peaked at #26 on the US charts. But within their native Australia, the group had been churning out hits since 1981. Formed in Sydney in 1980, the band had an infectious post-punk, guitar-heavy psychedelic sound. The group released their first album, Of Skins and Heart, in 1981 to good commercial success. The album was later repackaged and released in the US in 1982 as The Church. Their second album, 1982’s The Blurred Crusade, performed well in Australia but wasn’t released in the US, as it was considered not radio-friendly enough for North American audiences. By the ‘90s their sound had gone more mainstream, bordering on progressive rock. They continue to tour and record and will release their 25th studio album, Further/Deeper, in late 2014.

“The Unguarded Moment” was the second single released from their debut album, Of Skins and Heart. It peaked at #22 on the Australian charts and led one Rolling Stone critic to describe it as The Church’s “1981 jangling gem.”

 

The song “Dropping Names” is from the band’s third album, 1983’s Seance, which found the group gravitating to more of an atmospheric sound.

 

Band Profile: Fischer-Z

Posted: September 21, 2014 in Band Profiles, New Wave
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I recently came across a blog comment about the band Fischer-Z, a British band from the early ‘80s that I had completely forgotten about. The comment immediately jogged my memory and I remembered seeing the video for their song “So Long” back in the early ‘80s. The song had a strong bass line, unusual vocals, and I recalled there was a film noir narrative to the video. I immediately went to Youtube to track it down and then decided to look up more music from the group. They had a sound very much in-step with other new wave artists at the time and I was surprised that it had taken me over thirty years to come across them again. It turns out that the group’s record company decided to forego releasing material in America in the ‘80s. Having virtually no airplay, it’s no wonder they escaped my memory.

Forming in 1976, Fischer-Z started out with an experimental progressive rock sound. By their debut album, World Salad, their sound had evolved into a mix of offbeat pop with a reggae influence. The album had modest chart success, peaking at #54 on the UK charts. Their second album, Going Deaf for a Living, released in 1980, had the band moving to more of a guitar-heavy, new wave sound. It proved to be a greater success and by their third album, 1981’s Red Skies Over Paradise, the group had dissolved with lead singer John Watts pursuing a solo career. Although being the only original member of the group, Watts recorded albums throughout the ’80s and ‘90s under the name Fischer-Z. John Watts’ version of Fischer-Z continues to tour to this day.

The group’s first video was for the single “So Long,’ off the album Going Deaf for a Living. It shows off Watts’ unique, high vocal register. It was their most successful single and still finds regular airplay on stations in Europe.

 

“Marliese” is a single off the album Red Skies over Paradise. It’s a high-energy tune with more of a rock edge. The video clip below finds Watts enthusiastically lip-synching to the track.

 

Australia’s Divinyls

Posted: September 19, 2014 in Band Profiles, New Wave, Rock
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Many people know Australia’s Divinyls from their early ‘90s hit “I Touch Myself.” But the band had great success in their native country throughout the ‘80s. During that time period, they had a much harder sound, especially in the earlier part of the decade. I first discovered them through their video for the song “Boys in Town,” which received airplay on MTV in 1983. It’s a hard-hitting rock song with an unrelenting rhythm that mixed well with lead singer Chrissy Amphlett’s unique voice and high-energy performance. At the time, Amphlett reminded me of a younger Chrissie Hynde – fringe bangs, and lots of eyeliner and attitude. (In the 80s, Amphlett performed in a schoolgirl uniform and was often referred to as the female version of fellow Aussie Angus Young of AC/DC).

Formed in Sydney, Australia in 1980, the band went through many line-up changes throughout the ‘80s. By time the ‘90s rolled around they were a very different band. They adopted a more glamorous look and their sound moved to mainstream pop. It was only recently, after having come across a story on the band, that I remembered how much of a fan I had been of their earlier work. The group ended up disbanding in 1996 but reunited for a short time 10 years later before finally calling it quits in 2009. Unfortunately, Amphlett died in 2013 at the age of 53, after battling breast cancer and multiple sclerosis.

“Boys in Town” was originally released as a single in 1981. It’s part of the soundtrack for the 1982 movie Monkey Grip, which Amphlett also starred in. The single was also included on their debut album, Desperate, released in 1983. The video finds Amphlett in full schoolgirl garb, aggressively wielding a neon mic stand.

 

One of my favorite tracks off the debut album is “Science Fiction.” It has futuristic sounding keyboards and a robotic vocal performance by Amphlett that warrants the song’s title.

 

Band Profile: The Abecedarians

Posted: September 16, 2014 in Band Profiles, Goth, New Wave, Post-Punk, Synthpop
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The Abecedarians are another great find I came across in my late-night internet searches. They have the distinction of being the only American band to have recorded under the legendary Factory Records label, the company that produced records for such artists as Joy Division, New Order, Happy Mondays, and Orchestral Maneuverers in the Dark. Having a haunting-like quality to their music that reminded me of the new wave bands from England of the time, I was surprised to discover that the trio hail from Los Angeles. They also have a big sound, which belies the fact that there are only three members in the group.

Forming in 1983, the Abecedarians released their first single, “Smiling Monarchs,” under the Factory label in 1985. It was mixed by New Order’s Bernard Sumner and is a pounding, synth-heavy track. After leaving Factory, their music moved to more of a dark, atmospheric sound. It was the work off of their 1986 mini LP Eureka that captured my attention, and made me wonder how I could have missed them back in the day.

“Beneath the City of Hedonistic Bohemians” is a single off the mini LP Eureka. It’s an energetic, drum-driven track with pleasing guitar work throughout. It’s the song that first piqued my interest in the group and feel it’s one of their best tracks.

 

Having a darker but more melodic sound, “Misery of Cities” is another single off the Eureka LP.

 

Getting to Know Liquid Liquid

Posted: September 14, 2014 in Band Profiles, Post-Punk
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Liquid Liquid is responsible for arguably the most well-known bass line and sampling in hip hop history. Their most recognized song, “Cavern,” was used as the backing track to Grandmaster Mell Mel’s 1983 single “White Lines (Don’t Do It).” (The lawsuit from the unauthorized sampling ultimately resulted in the downfall of both bands’ record labels). The song has been sampled and referenced by a diverse range of artists, such as the Yeah Yeah Yeahs, Moby, LL Cool J, Mobb Deep, and De La Soul. It was also featured prominently in the film 25th Hour (2002) and more recently in the movie Chef (2014).

It’s quite a legacy for a band that only produced actively from 1980 to 1983, releasing just three EPs. They are labeled as a post-punk, post-disco band but have influences of reggae and funk. Liquid Liquid formed in New York in the late ‘70s as Liquid Idiot with a more punk sound. Their sound changed over the years to being more groove-based with their intention of getting people to “want to move.” The band reunited in 2008 and made an appearance on the Jimmy Fallon show in 2010. For LCD Soundsystem’s 2011 farewell show, they invited the band to be the opening act, stating that Liquid Liquid was their greatest influence and “heroes.”

“Cavern” is a single off of their third EP, Optimo, released in 1983.

 

The single “Optimo” is another release from the EP of the same name. Another heavy percussion, groove-based track.

 

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